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Titlebook: Women, Literature and Finance in Victorian Britain; Cultures of Investme Nancy Henry Book 2018 The Editor(s) (if applicable) and The Author

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發(fā)表于 2025-3-25 03:29:04 | 只看該作者
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Book 2018he stock market in nineteenth-century Britain when investing provided access to financial independence for women. Victorian novels represent those economic networks in realistic detail and are preoccupied with the intertwined economic and affective lives of characters. Analyzing evidence about the l
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發(fā)表于 2025-3-25 17:09:36 | 只看該作者
2946-5397 sm during the Victorian period.Examines the experience of wo.Women, Literature and Finance in Victorian Britain: Cultures of Investment .defines the cultures that emerged in response to the democratization of the stock market in nineteenth-century Britain when investing provided access to financial
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Women Investors in Fact,curities, canals, docks, and banks, as well as in domestic, foreign, and colonial railways to set the stage for the following literary analyses and to support the argument that female authors’ personal experiences of gaining independence through investing moderated their critique of capitalism compared to that of their male contemporaries.
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Elizabeth Gaskell: Investment Cultures and Global Contexts, from Manchester and toward Gaskell’s rich explorations of other communities such as Liverpool, Wales and Whitby, Henry emphasizes the importance of familial, economic networks to her identity and her fiction.
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,Charlotte Riddell’s Financial Life and Fiction,nvolved following the bankruptcy of her husband, a failed inventor and businessman in London. Riddell’s unique perspective on business ethics in her novels is a result of her own financial entanglements.
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發(fā)表于 2025-3-26 18:53:18 | 只看該作者
Margaret Oliphant, Women and Money,surance, and the struggles of women to achieve financial independence, evincing a distinctly ambivalent attitude toward new opportunities for women that situate her in the same context as her late nineteenth-century contemporaries Riddell and Gissing.
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